. . . raising the bar
Equity Showcase (closed)
by Louis Lopardi . . March 31, 2001
In the mythology of our species (I was tempted to use the loaded word "race"), a hero's quest usually begins with the crossing of a body of water. The current production has at its midpoint a magical moment from early in DuBois' life, when he voyaged to Germany for doctoral studies under the bequest of a precursor to UNICEF administered by ex-president Rutherford B. Hayes. The breakneck flood of bio-detail mercifully slows, the lighting shifts, and we are in a realm of the mind and spirit otherwise visited only during the passages of quoted poetry. It is the sort of thing this show needed more of.
I understand the problem; details are necessary if we are to present a true picture of the man. It is the methodology I quibble with. The writing - especially in Act One - often lapsed into a prosaic and passive voice while attempting to backfill so much biographical detail. Some judicious and relatively minor editing would help this already lofty show really take wing. It is much to Mr. Snow's credit that some eight year-olds in the audience (after the sluggish first third) sat riveted for the entire two hours. Known to some as ‘the king of Siam', Dan Snow is a consummate performer, in total control of his instrument. His diction, self-possessed bearing and ability to quickly adjust saved him from the terrible acoustics of an overly live amphitheater in which standing-waves muffled whole passages of dialogue.
The production team worked hard to solve the problems inherent in this kind of alternative space. A sparse and creative lighting design by Herrick Goldman overcame the architectural difficulties. The set design by Ruben Arana-Downs was a dazzlingly perfect blend of stylish imagery, suggestion, and symbolism. Alexa Kelly directed with a sure eye for the power of geometry, a trust of the spoken word, and an understanding of the theatrical moment.
And there were many memorable moments: The aforementioned scene of a conversation with the German girl on shipboard - poignant after a diatribe on the word "home". The death of his first son. The well-illustrated wedding of his daughter. The McCarthy hearing set-up and surprise twist at the end. Also, the banes of his existence, Booker T. Washington and Marcus Garvey, were well handled. The dealings with Washington were covered in a movingly dramatic way in Act Two, and the brief Garvey section was embellished by a surprise appearance: a stellar cameo by the gifted Brian Richardson (who also did much of the offstage voice-over work); a star turn if ever there was one. Yet all paled in comparison to a reading of "I am the smoke king - I am black" in which all production aspects - acting, directing, lighting, design - came together in a sensitive and unforgettable way. All readings were underscored by Alexa Kelly's perfect sound design. Terry Leong's costumes well suggested the huge span of time covered (1880's-1960's).
Called "a gifted discoverer of social truths" by Dr. Martin Luther King, DuBois remains one of the least known social scientists. This production goes a long way toward making accessible a life often obscured from the popular view by a veil of intellectualizing, and racist history books.
| Writing | |
| Directing | |
| Acting | |
| Costume design | |
| Set design | |
| Lighting design | |
| Sound design | |